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Illusion Conclusion
Jerry Stocking
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Illusion Conclusion — Core (16 Tapes)
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Tape 14 – Side A
Tape 14 – Side A
IC_T14A
45:05
62 nuggets
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Transcript
244 utterances · click to jump
00:01
S0
Do you know what the first one was?
00:05
S1
Yeah. He does stink.
00:08
S2
No.
00:10
S0
The further you go out toward 24 from 18, the more superficial you're gonna be. What was her first response?
00:19
S2
She has
00:19
S0
no business commenting on the ferret. She's staying there. She's around there. She had look at her. She has absolutely no business commenting on the ferret. You come to my house and you tell me my ferret stinks. She doesn't care that it does. Does it? Yes.
00:40
S1
And everybody that comes there tell yeah. I think it stinks too. Yeah. And
00:43
S0
Okay. Why do you have it?
00:45
S1
My son's spirit that he wanted to spare it.
00:52
S0
Well, he's down about five, isn't he, on your scale? No. Yes.
01:03
S0
I am the lie detector. Okay? And so are they. Do you think her son really wants to have something that she doesn't like?
01:14
S1
I don't like it. It just stinks.
01:17
S0
But you're willing to put up with a stinky house? Do you see the number of what she has to keep doing is she has to keep altering it. Yeah. You get the first response and then you have to tailor it so that it fits in here. That's really good social stuff, but it's bad in the way of diseases. Right. Right. You know?
01:41
S0
Okay. Insult her, please. Do it again. You guys, I want you to really slam them. You guys are open enough now. I want you to slam them. Ask her if those are real. Are those tits real?
01:59
S0
Yeah. Now this is all fake. Do you get it? So before we gotta catch you before you do the fake. I want you to notice the responses. Currently, to protect yourself, you're not noticing the first several. Okay. I mean, eighteen, nineteen, 20, 21. Mhmm. Then I want you to once those have gone by, because you're gonna have them Mhmm. And you never say them unless you're really upset. You you know what I'm talking about? Mhmm. Okay. First of all, I want you to start saying those in your life for now. Mhmm. Most of you, I want you not
02:35
S3
to say them cause I want you
02:37
S0
to observe them, but she has a practice called don't ever say them. So she doesn't say them. That doesn't mean she doesn't think they're true. That doesn't mean she doesn't operate on them. That doesn't mean she doesn't hold them against you, does it?
02:50
S3
No.
02:51
S0
No. She does. So I want you to say them. But she asks I mean, she zings her, then she comes back, she lets it sit for a little, then she comes back with a question, which is a request, a request probably for information or something that she asks with genuine curiosity and wants to know the answer. The purpose of this is that when you zinger, you throw your attention over here and stick her with something.
03:26
S0
If she makes a request that she's genuinely curious about, she puts the attention back over here. This becomes a tennis match. And what happens with the attention? It comes out, it goes back in, it comes out, it goes back in rather than getting stuck somewhere. You're saying you're more stuck than I am. That's virtually what any insult comes down to. Whether you're pretty or ugly, it's still you're more stuck than I am and I happen to know it.
03:59
S0
So insult? Your hair is really stringy. And you're watching the responses. You see them?
04:09
S0
And you see them just hit, don't you? You see, they don't hit here as much as they hit here. Her mouth is the indicator. They just hit. Then when you get to the point that you're not stuck on it so much, then ask her a question with genuine curiosity. Not about some completely different subject and not to battle back at her.
04:33
S1
How do you know so much about hair?
04:37
S0
Now it almost got out. It got just about to hear the head tilt threw it off a little bit. The screw you embedded in it threw it off just a little bit. The look at yours dummy throws it off just a little bit? What if you could do it so that nothing stayed over here Mhmm. But the screw you stayed over here? Mhmm. Do can you tell that? Mhmm. What if you could get rid of that so you didn't have it anymore? What if she tried to zing you and you could hit it right back over? Then she's gonna have to do a search of hers. She's trying to make certain that this mechanism over here gets stuck. That's the point of an insult or a compliment to get this do you follow this? Mhmm. To get this one stuck. That's what your Your kids do nothing but test you all the time. They're testing to find out if this mechanism's still gonna get stuck. If this mechanism doesn't get stuck, they say it's a game. It's a game. We're playing. I don't know what to expect from this woman, but all of a sudden she doesn't look like mom, she looks like a a friend of mine that I could play with.
05:58
S0
Get how that could work? It's not easy to do this, generally. It's quite tough. First of all, the person insulting has to go deeply and they have to really be willing to threaten their relationship.
06:17
S0
They gotta cut through there and be willing to say, I don't know if we're gonna be related anymore. Remember that's if you aren't doing that every single minute of a relationship, the relationship is over. It's being assumed and it's being run by culture instead of run by you guys. So you have to be willing to jeopardize it at any point in time. Otherwise, you got a whole region over here that you have to be careful and not do. This you keep from her. And then you get more and more that you keep from her and more and more and every relationship ends at three months or every relationship ends at one year or every relationship stops being one of give and take and starts being one of sorting your own and figuring out what you can dare give her and making sure that you get some do you get how the reciprocity ratio starts to show up? You gotta be willing to insult her. We got a group here now. You guys have had a lot of experiences in common. Now it's time to threaten the relationships and then find out what happens when you come back with a question with genuine curiosity all the way over to here so that she has to think. Mhmm. Not screw you. What do you know about hair, bitch?
07:41
S0
That's not really a question that would do the job. No. No. And it's not about the words. It's about whether you can become curious enough to shift the attention back over to here, then she'll bring it back over to you, then you'll bring it back over to her, and it starts to move freely between the two of you. That's the definition of relationship. Is it moving back and forth between the two of you if it gets stuck or either of you are protecting anything, it's like here you are playing ping pong. It's her serve. She doesn't serve.
08:21
S0
How long are you gonna play?
08:24
S0
Not very long. Not very long. And you don't. And you take your ball and run home.
08:33
S0
Don't you, in relationship? Check it out. That's what you do. They already know you're going to.
08:43
S0
It takes a a huge leap of faith and trust to serve the ball because what if she just catches it? Now
08:54
S0
she's got the ball. Possession being nine tenths of the whatever. She's got the ball. Now you gotta wait for her to serve.
09:03
S0
That's the bad part. Bad part. Unless she was you. No. They were both bad. She was you. Mhmm. Because then if either of you have the ball, you have the ball.
09:15
S0
That's declarations instead of assertion. And
09:22
S0
that's a bigger world, isn't it? In that world, relationship works,
09:27
S0
and it's a wholly different dance. But first, you gotta go through this sort of stuff. This is not gonna be easy. I request that the people in the back of the room, the assistants, very aggressively support what's going on here in the three groups because this is not easy. You have to genuinely insult her which means you have to go way past your comfort point. See it? She has to go way past her comfort point, then she has to throw something out here that goes past her comfort point, then she has to send it back over. Once she settled it down, you have to settle it down quickly. The game in life is to get upset and then set up and upset and then set up quickly enough so that you simulate the universe and then you can play anywhere. This is a small game but it's a huge piece in life. It's a gigantic piece, and this is the only way I know of, this and the number of other things we're doing around this, to have the two of you not be separate.
10:36
S0
As long as she can throw out a name or an insult and you get upset and you protect your little thing and attack back to her little thing, you got a stupid little relationship Yeah. Which can be jeopardized by whether or not the wrapping was just right on the present that was sent at Christmas or whether or not whatever. What kind of gum she likes? Can't believe she likes double mint. Dummy. How could she do that? Double mint stinks. Worse than a ferret, in my opinion. And then there's the way she looks chewing it.
11:14
S0
So in other words, take this deep and use the prompting from the people. I want you to go into your emotions to deliver the insult. I want you to look over at her and figure out exactly what it would take to have her think this isn't a fun game anymore.
11:35
S0
You aren't allowed to say that because guess what? This is gonna happen out in the world. Right. Isn't it? Yeah. And you're gonna say, yeah. We did that stuff in the workshop, but that wasn't real. I want it real.
11:50
S0
So then you reverse them. Yes. But you're gonna do a number of them one one way. If she learns to ask with genuine curiosity at a fairly deep level, she'll be able to do this with anybody as long as you can insult her deeply enough. I've had people do this who were in relationship, no insults at all. Your shirt isn't quite balanced between how far it is down on this shoulder and how far it is down on that shoulder. And you go, there's no relationship here. What is the what are they pretending at? This is ridiculous. There's nothing home.
12:33
S0
I want you to insult each other. You've proven for the most part that you can like each other. Now and one little offspring of this, if you go somewhere with me sometime, I will do a little demonstration for you. I will say things that insult someone so deeply that you can't even believe it could happen, and you'll see them not get insulted. You'll see them learn from it rather than getting insulted. The insult happens when you don't give all of yourself to her. That is always an insult, and that is the only insult you can offer. And then the insult is compounded when she doesn't give all of herself back to you. And then it's compounded further when you don't give all of it back to her. And it's easy to know this, and it's a whole different thing to live this way.
13:28
S0
What if you could live this way?
13:32
S0
And what we have to do in courses is we have to as close as we possibly can simulate life.
13:40
S0
In a recent thanks. In a recent let yourself glow, we split the group who's now become quite a group into two separate groups. They were to determine what they had for breakfast.
13:55
S0
One group wanted bacon and eggs, and the other group wanted fruit. And they were only allowed to have one or the other. And they start in with each other, trying to bribe, trying to you know, all the slimy stuff you do when you don't get your way. They started doing that. And then finally, the group that wanted fruit gave in.
14:22
S0
And that was, like, forty five minutes into it with all kinds of junk going on in the process. You guys know how you act when you don't get your way. Right? Like that. And then I said, okay. It'll be bacon and eggs, but only the bacon and eggs group will eat. The other group prepares it for them and doesn't eat.
14:43
S0
And all of a sudden, the fact that there were consequences dawned on them. There are always consequences. There are always dire consequences. And this whole exercise went on for probably two and a half hours. We had people wanting to leave the course. This was on this was real back and forth. You need to make this exercise real. Some of you, several of you who I could point out but I won't bother to, have a tendency to stay very superficial. Take this deep. It's not polite to not insult them deeply. You have to insult them very deeply so that they find out what their depths are.
15:34
S0
They need to know what their depths are. You need to compliment them so deeply once you've perform the insult several times and proved you can. You need to do that so deeply that they can't even believe they're that good. What if you could compliment them like that?
15:53
S0
So you need to stretch yourself in this exercise, really push it.
16:01
S0
I want you to move vertical levels in the exercise. I want you to get so insulted that you can't stand it. Remember this happens to you sometimes, doesn't it? Mhmm. You're boxed in a corner and you're stuck and it's horrible and there's nothing. I want you to get there so you can find out how to get out of there so that next time you're in there, you can get out. And then back in and then back out. And I'll tell you that the moving from in there out and back in and back out again generates energy. Mass quantities of energy. That's part of why you love your upset so much. When you get incredibly upset, there's a relief afterwards when you got out of it. That's the energy. What if you could generate that? What if you could fall deeply in love with somebody and then hate them in the next moment? This does nothing but generate energy
17:01
S0
because it's making everything disappear that doesn't exist, that used your energy in order to pretend it existed. You follow?
17:15
S0
You're breathing life into illusion and trying to figure out why you don't have enough air.
17:23
S0
Three groups.
17:27
S0
Remember I said you gotta take your insecurities and put them right out here. You gotta put them right out here, and then they disappear because they weren't ever there to begin with. But they were a profoundly wonderful excuse to keep you from other people. Didn't they work?
17:49
S0
Yeah. They do. So slay her, please. Watch.
17:57
S0
As a matter of fact, let's not have one person in the insult seat. Any of you can insult her. Here she is.
18:05
S0
It's like a Don Rickles exercise to start out, except that he doesn't do it very deeply.
18:12
S4
You always laugh just to try to keep from getting any deeper with people in any of these exercises.
18:20
S0
Notice your responses and your thumbs,
18:26
S0
and then come back with a question with genuine curiosity.
18:30
S5
Does it make you uncomfortable because I laugh?
18:35
S4
No. It doesn't make
18:36
S0
me Should you watch it? It worked because the attention went right back over there and she had to do a search of her files. The game here is that she throws out an insult to try and get her stuck in her files. She watched her responses and then came back with a question which sent her into her files. That's the game. It's that simple and it's that hard. What about next time you're arguing with your loved one? They're gonna pull out assertions. They are. And what if you can then watch the responses and then come back with a question which has them do a search? All of a sudden, the two of you are searching for new terrain rather than beating up the same old stupid junk. Be kinda neat, wouldn't it? Do five or six per person from different people in the group. I know it's not polite. Skip polite and get deep. Go.
19:45
S0
Dance, please.
20:39
S0
We're at a point where you get to move without pattern.
20:45
S0
Move without pattern and make sure that all of your muscles get said hello to. Cut the patterns. There are a number of patterns in the room. This is the way I dance. Well, not anymore. I'm not saying it has to be an epileptic fit metaphor. You can make it half of the beat or twice the beat and get out of the pattern.
21:38
S0
Beautiful. Yeah. No
21:47
S0
homework other than to really just take care of yourselves. I wouldn't talk much tonight. I would watch. I would go inside, go outside, learn what the difference is between the two. Take care of yourself tremendously, please.
22:13
S0
Your place in the universe auditorily, that's where the tremendous insecurity that's all over the room at the moment comes from. Look around. Any insecurity involved? It takes almost nothing. You could walk in the room and someone could burp and you could interpret that they didn't like you, and your auditory would go nuts with it.
22:41
S0
How quickly can you learn this verse?
22:45
S0
Maybe never.
22:48
S0
It's not complicated.
22:55
S0
Okay. Ready? Here you go. This is an IQ test. I
23:04
S0
want you to learn this. Ready? This is the farmer sowing the corn, that kept the cock, that crowed in the morn, that waked the priest all shaven and shorn, that married the man all tattered and torn, that kissed the maiden all forlorn, that tossed that milked the cow with a crumpled horn, that tossed the dog, that worried the cat, that killed the rat, that ate the malt, that lay in the house that Jack built. Who's got it?
23:33
S0
Nobody yet? This is the farmer sowing the corn that kept the cock that crowed in the morn that waked the man all tattered and torn.
23:44
S0
Am I missing it? This is the farmer sowing the corn that kept the cock that crowed in the morn that waked the priest all tattered and torn. No.
23:52
S6
Shaved and shorn.
23:53
S0
All shaved and shorn. Okay. Keep going. And all fat. And torn that kiss the maid all forlorn, that milked the cow with a crumpled horn, that tossed the dog, that worried the cat, that killed the rat, that ate the malt, that lay in the house, the jack built. Go, Matthew. This
24:18
S0
is the farmer.
24:18
S6
This is the farmer that
24:20
S0
No. This is the farmer sowing the corn. What if he had to do it exactly? This is the farmer sowing the corn.
24:30
S6
This is the farmer sowing the corn.
24:37
S0
They kept the cock that crowed in the morn.
24:41
S0
That wake wake the priest all shaven and shorn that that
24:51
S6
tattered and torn.
24:52
S0
No. She's tattered and torn. She's forlorn. She's forlorn.
25:11
S6
That killed the mouse, that ate the malt, that lay in the house of Jack's Hill.
25:19
S0
This is the farmer sowing the corn, that kept the cock, that crowed in the morning, that waits the priest all shaven and shorn, that married the man tanned and torn, that kissed the maiden all forlorn, that milked the cow with a crumpled arm, that tossed the dog, that were the cat that killed the rat that ate the mouth of lint and the house of Jack built. Go ahead.
25:38
S2
This is the farmer that
25:41
S1
sowed the corn.
25:42
S0
Oh, no.
25:45
S0
I can't do it. It's not the farmer that sowed the corn. This is
25:57
S0
This is the farmer sowing the corn,
26:01
S0
that kept the cock, that crowed in the morn, that waked the priest all shaven and shorn, that married the man all tattered and torn, that kissed the maiden all forlorn, that milked the cow with a crumpled horn, that tossed the dog, that worried the cat, that killed the rat, that ate the mouth, that laid in the house with Jack, built. I haven't done that in an awful lot of years. I like to stick with Moses supposes his toeses are roses, but Moses supposes erroneously for nobody's toes are poses of roses as Moses supposes his toes to be. I like that better. I'm really kind of into poetry,
26:35
S0
infantile poetry.
26:39
S0
Go ahead.
26:39
S1
I can't do it. My attention is not there.
26:42
S0
Where is it?
26:43
S1
I don't know, but I can't
26:44
S0
do this. Where is it? Where is it? Find it. Her attention is missing. It's somewhere. You have a college degree. Right?
26:58
S1
Yeah.
26:58
S0
Yeah. Good. Who's the farmer?
27:04
S0
This is the farmer sowing the corn. Try that one.
27:06
S1
This is the farmer sowing the corn. Try that one.
27:17
S0
That kept the cocks that crowed in the morn.
27:21
S0
The wake the man all tattered and torn. The kiss the maiden all for learn. The milk the cock with the crumple, learn the toss, the word, the cat, the killer, the jack. Bilt.
27:28
S1
Do like the microphone?
27:30
S0
No. I like you to have the microphone. I don't want that. I am so comfortable when you're you have a little performance anxiety. You have no idea. Who can do it? Beth might be able to. Beth is close.
27:47
S2
This is the farmer that sowed the corn that fed
27:49
S0
the No. This is the farmer sowing the corn.
27:52
S2
Sowing the corn. K. They fed the crow that cocked in the
27:56
S0
Freud enters the room.
28:07
S0
Welcome, Freud.
28:12
S2
Okay. This is the farmer that sowed the corn.
28:14
S7
No. Sowing the corn.
28:19
S0
Your auditory is not sufficient to place you in the world, you guys. Your auditory won't do it. And you're attempting to do this exercise auditorily. And you get upset and you just stay upset. We look around the room, Fred goes, they're all upset but not even really deeply upset. You get a little upset so that you can use that to stay a little upset. Well, I want you to get really upset and then come out of it.
28:54
S0
You guys are gonna leave here today and people are gonna be armed and dangerous ready for you. Do you know that? They are. They're going to say those same old things. Oh, yeah. Do you remember the time that
29:11
S0
go ahead.
29:13
S2
This is the farmer sowing the corn that fed the crow that cocked in the morn.
29:26
S2
This is the farmer sowing the corn.
29:28
S0
We I think we've done some more complicated stuff than you were ready for in this course.
29:37
S2
Okay. This is the farmer sowing the corn that fed Kept kept the cock cock
29:46
S0
that crowed in the morn that waked waked the prey all shavings and shorn that married
29:54
S2
That that married the man all tattered and torn, who kissed the maiden all forlorn. Wait a minute. Who milked the cow with a tattered horn.
30:05
S0
Who kicked Crumpled horn.
30:06
S2
Crumpled horn, who tossed the dog, who worried the cat, who ate the rat
30:11
S0
Who killed the rat.
30:12
S2
Who killed the rat
30:13
S8
Who ate
30:13
S2
the Jack in the Jack in the The lay in the house that Jack built.
30:20
S0
Okay. Now exactly, please.
30:26
S2
This is the farmer sowing the corn.
30:34
S2
They kept the Who? Who kept the cock crow who who crowed in the morn, who woke the priest all tattered and torn. Wait. Who woke the priest all shaven and shorn, who married the man all tattered and torn, who kissed the maiden all forlorn,
30:54
S2
who milked the cow with crumpled horn, who tossed tossed the dog, who worried the cat, who ate the rat
31:02
S0
Who killed the rat.
31:02
S2
Killed the rat, who ate the malt in the house house with Jack,
31:07
S0
who lay in the house with Jack, Bill. Judy's turn.
31:10
S9
The Jack, Bill.
31:12
S0
Judy can do it when she hasn't got the mic.
31:20
S0
No. I was wrong about that. This is the this is that.
31:27
S0
Oops. The seven plus or minus two got used up. And when she's doing it and you don't have the mic, you can sit right here and do it without a problem.
31:40
S7
This is the farmer. This is this is the farmer. This is the farmer who
31:48
S0
Farmer sowing.
31:50
S7
Yeah. This is the farmer sowing the corn.
31:56
S0
Oh my gosh. Disappears. Totally. I know.
32:01
S5
Nothing at all.
32:02
S0
I know.
32:03
S7
This is the farmer sowing the corn.
32:08
S7
Something about the horn. Do
32:12
S0
you guys have any idea how well she was doing with it when she was doing it?
32:16
S6
Just hand the mic to Vicky and then we'll do it again.
32:18
S0
Okay. Vicky, your turn. Vicky's right next to you. This is the Vicky holding the mic.
32:25
S0
This
32:29
S5
is the farmer sowing the corn that keeps the crop the cock that crows in the morn, that wakes the priest all that woke the priest all shaven and shorn, who married the farmer all tattered and torn.
32:48
S0
Oh, now the farmer got married.
32:52
S5
Married the man who married the man all tattered and torn,
32:58
S0
who kissed He knows all of it. Hand her the mic, would you? Who kissed?
33:05
S7
Who kissed the maiden all forlorn, who milked the cow with a horn, with a crumpled horn with a crumpled horn
33:22
S7
made with a crumpled horn.
33:26
S7
The toss the
33:27
S0
pass the mic back, will you? Between the two of you, we might end up with one person.
33:36
S5
The toss The toss the dog.
33:39
S0
Dog. The toss the dog. Dog.
33:41
S5
That worried the cat.
33:44
S9
Who ate
33:45
S0
the rat.
33:46
S5
No. That killed killed the rat that ate the malt. The
33:51
S7
but in the house that
33:53
S5
that laid in the house. Right.
33:55
S0
Yes. Soon as she doesn't have the mic, she has no problem. This is disgusting.
34:02
S0
Okay. Who's next? We don't go on till everybody gets it.
34:08
S10
This is the farmer sowing the corn who kept the cock, who waked the Crowed in the? Crowed in the morn, who wakes the priest all shaven and shorn, who married the man all tattered and torn,
34:30
S10
who kissed the maid all forlorn, melt the cow with crumpled horn, who tossed the dog, who worried the cat, that killed the rat,
34:45
S10
that ate the malt that lay in the house that Jack built. I
34:55
S0
want you to notice something here.
34:59
S0
What what was here that wasn't here?
35:04
S2
It's an
35:04
S0
institute. You have to be a rocket scientist.
35:09
S5
That's for sure.
35:10
S0
What was there that wasn't there had nothing to do with concentration. It had to do with trust. In the spaces in between, he waited for it to come to him instead of trying to force it to come to him. If you want an easy life and have you ever noticed that I'm quick? I just wait for it to come to me. Yeah. You can't tell. I understand. I just wait for it to come to me. If I try to get it to come to me, I'd be slow.
35:46
S0
He waited for it to come to him. Where's the anxiety? There isn't any. If it doesn't come to him, guess what? It doesn't come to him.
35:58
S0
And it came to him. And he's massaged you in the spaces in between
36:05
S3
Mhmm.
36:05
S0
Because he's just waiting. Mhmm. You're full in the spaces in between. You've gotta empty in the spaces in between and find out what comes in. Otherwise, the simplest phrase to repeat it is almost impossible.
36:24
S0
Who's next?
36:26
S6
This is the farmer who sowed the corn.
36:29
S0
Sowing the corn.
36:30
S6
This is the farmer sowing the corn that kept the cock.
36:32
S0
Who kept who kept not that kept.
36:36
S6
Oh, that is okay. This is the farmer sowing the corn who kept the cock that crowed in the morn that woke the priest, all shaven and shorn, who married the man all tattered and torn, who kissed the maiden
36:53
S0
You watch him lorn. In between? Who
36:59
S6
milked the cow with a crumpled horn, who tossed the dog that worried the cat that killed the rat who ate the malt that lay in the house that Jack built.
37:15
S0
You guys get the difference? Yeah. Mhmm. Huge difference. What if you didn't walk around with a permanent performance anxiety? Which means trying to organize the world with your auditory.
37:33
S0
Who's next? Do you notice what happened in the spaces for you? Were you worried about him in the spaces? Absolutely not. The spaces returned much closer to zero and he waited.
37:49
S0
And if it doesn't come, then it doesn't come. But if it does come, it does more fun, isn't it? Oh, yeah. It's a whole different world.
38:00
S0
If you don't have to grab for something instead of having that moment of nothing. If you grab for something, you're then gonna have to fight for that something's the right thing. Doesn't work out very well. As a matter of fact, it puts you under constant pressure.
38:18
S0
Who would want to be under that kind of pressure? Who's next?
38:23
S3
This is the farmer sowing the corn that kept the cock that crowed in the morn, that woke the priest all shaven and shorn, that married the the man all tattered and torn,
38:44
S3
that kissed the maid, all forlorn, that milked the cow with a crumpled horn, that tossed the dog, that
38:57
S3
worried the cat, that killed the rat, that ate the malt, that lay in the house that Jack built. You
39:10
S0
guys, it's the spaces. Can you see that? What's he gonna do in the spaces? Is he gonna put a Bunsen burner underneath his database and try and get something, or is he gonna let the space
39:29
S0
He's transferring from pictures to conversations,
39:35
S0
and he's letting whatever runs run. How's the trust in between? Look what happens after they do it. There's a settled
39:47
S0
they've just gotten stroked beautifully on the spaces in between. It's about the holes, it's not about the stuff. Remember when we talked about stuff and holes? Mhmm. It's the holes, not the stuff that takes care of you. If you're trying to get it right, you're not gonna be allowed any holes at all. So you can't wait for the stuff to come in. You can see the difference. Right? Okay. Who's next?
40:20
S0
Hand it to Lazy, would you?
40:27
S0
Now, do you know whether he's going make it through the first phrase or not? No. You should know. Yeah. This
40:38
S8
is the farmer sowing the corn.
40:42
S8
Kept the cog.
40:51
S8
Occurred in the morning,
41:03
S8
and woke the priest,
41:09
S8
all shaven and shorn, who married the man, all tattered and torn, kissed the maiden who was forlorn,
41:25
S8
who milked the
41:29
S8
cow with the crumpled horn. I tossed the dog that worried the cat
41:42
S8
that ate the rat.
41:45
S8
Killed. Swallowed the malt or killed the cat. The rat. Killed the rat who swallowed the or ate the malt or something.
41:53
S0
Oh, now you're starting to get a little lazier. Killed the rat.
41:57
S8
Killed the rat.
42:06
S8
Ate the malt?
42:07
S0
Yes.
42:11
S8
I live in the house with Jack. Just something else.
42:14
S0
Delay in the house with Jack. Failed.
42:19
S0
Mike to Carol, please, two. These two will do it together. Barb?
42:26
S9
This is the farmer sowing the corn who kept the cock Who cried in the morn. Who crowed in the morn, who woke the priest And it's all tattered and torn. Tattered and torn.
42:37
S0
No. The priest was not tattered and shaven and shorn. Yeah.
42:42
S9
Quote the priest, all shaven and shorn
42:45
S0
He
42:45
S9
married man, all tattered and torn, who kissed the maiden all forlorn forlorn.
42:56
S1
Who milked the cow
42:58
S9
Who milked the
42:59
S1
cow. With some kind of horn.
43:07
S0
Just wait. Don't try and get it. Who milks a cow
43:13
S9
Who milked the cow with a crumpled horn.
43:19
S0
See, it didn't hurt to wait, did it?
43:23
S9
Who milked the cow with the crumpled horn who
43:36
S9
Who fed the dog
43:40
S9
that worried the cat?
43:43
S0
You know that's not accurate.
43:47
S0
Tossed?
43:48
S9
Who tossed the dog that worried the cat,
43:54
S9
killed the rat, who ate the malt that lay in the house that Jack built.
43:59
S0
Okay.
44:01
S0
So we're asking you to set up a line of stimulus and responses,
44:08
S0
a line that you haven't had before of stimulus responses. You've got all the ones that you've had before and you do those regularly and it fires off and away you go and it fires off some more and it fires off some more and it fires off some more. What happens if you got one that you a new one?
44:29
S0
One of the things that happens is you've got spaces in it where you can open.